Intellectual Brownian Motion

Daily Archives: April 29, 2012

Watched a delightful, satirical farce last night, called Anonymous. It’s a spoof about the conspiracy theory that the Earl of Oxford (Edward de Vere) wrote the works of William Shakespeare.

This conspiracy notion has a pop following, but lacks significant scholarly and any historical support. Like other conspiracy theories, it has gained ground on the Internet from the simple fact that most people are naturally superstitious and suspicious, and would rather not apply critical thinking or do any serious research to prove or disprove outlandish claims.

As theories go, de Vere-as-Shakespeare is up there with the Elvis-is-still-alive, JFK-survived-the-Dallas-shooting or the-American-government-was-behind-the-9/11-attacks. Even a movie that attempted to treat it seriously would have to stretch the facts beyond reasonable belief.

Anonymous is to the de Vere theory what Jim Carey is to acting: an over-the-top, madcap, histrionic and sometimes painfully exaggerated performance. It weaves together a series of improbable events, relationships and characters so intricately that it almost collapses from its own excessiveness. Only the superb acting and sets make it hold together. However, even a casual knowledge of the history of the era, or of Shakespeare’s life, pulls the whole tale into tatters. You can’t even begin to take it seriously. But the silliness is part of the fun.

Anonymous is from director Roland Emmerich, who also directed the rather thin spoof on prehistory, 10,000 BC, which I commented on previously. The script was written by John Orloff, previously known as the author of the brilliant, Oscar-deserving documentary, “Legend of the Guardians: The Owls of Ga’Hoole.” Combined, the two make a potent force in satiric film making.

Historically, however, it’s a mess. Start with the fire in the theatre, early in the movie. It wasn’t the Globe. That theatre burned down during a performance of Shakespeare’s play, Henry VIII, in 1613, when fireworks hit the thatch and roof beams. The movie has a theatre being burned down by Robert Cecil’s men as they hunt the playwright Ben Jonson, hiding under the stage.

The theatre might be the Rose, but there is no indication from modern excavations that it burned down. It was used by theatre companies until at least 1604, and was apparently pulled down in 1606.

The film then jumps back in time five years to show Elizabeth I’s court… but that would make it 1608 if this was the Globe, five years after she died. But the year we go back to is actually 1598. No London theatres burned down in 1603.

The movie suggests Shakespeare was an illiterate, womanizing, greedy drunkard – he could read, but bizarrely could not write. But that would be very unlikely in the Elizabethan era schools which Shakespeare attended. This characterization is based on imagination, not any historical source. Shakespeare’s signature exists on several documents and many scholars believe the fragments of the play about Thomas Moore contain notes in his hand.

The Earl of Oxford is portrayed as a brilliant writer who has to keep his talent secret – well, it’s an open secret, since just about everybody in the court seems to know about his writing, including the Queen. That he was a writer is true – he was a respected albeit rather ordinary poet and playwright in his day, and a patron of the theatre as well.

There is nothing to indicate any social stigma attached to his or any other noble’s writing. Some of his poems survive today, although none of his plays seem to have. And as for being a well-educated man, his degrees from Oxford and Cambridge were honorary degrees, the sort handed out in great numbers to royal attendants by Elizabeth when she visited those institutions.

Elizabeth herself wrote poetry, as did Sir Edward Dyer, Sir John Harrington, Sir Philip Sidney, and others – including Raleigh, Grenville, Robert Sidney, and Essex. So why being a poet and a playwright in a literary and cultured court that fancied such artistic achievements would be taboo is never explained. Plus, there is not a single word in all the documentation from the era, that connects de Vere with even one of the plays he supposedly wrote. Yet Shakespeare is mentioned in documents in association with his writing years before the movie makes him pretend to be author (as early as 1592).

As a young man in the film, de Vere has an affair with the sexually active and promiscuous Elizabeth and fathers what seems to be one of a litter of bastard children with her. But later in the film, we learn de Vere was actually himself one of Elizabeth’s bastard kids, her eldest. Messy. But of course there is no historical evidence that de Vere nor any other courtier bedded Elizabeth, let alone that she had illegitimate children from the union.

When we learn de Vere allegedly fathered a son on his mother, Elizabeth, this is the movie’s “jump the shark” moment. It’s a groaner for sure, and you wonder if the author needed to go so far to ridicule the de Vere theorists.

Christopher Marlowe is found murdered in an alley in the movie. Oops, that event happened five years earlier, in another location and another wound. From Wikipedia:

The death of Christopher Marlowe plays a small but significant role in the storyline. Marlowe is portrayed alive in 1598, while in fact he died in 1593. The slashing of Marlowe’s throat occurs in Southwark with Shakespeare as his suggested murderer, whereas Marlowe was killed by Ingram Frizer with a knife stab above the left eye, in Deptford. Marlowe is shown mocking Dekker’s Shoemaker’s Holiday in 1598, although it wasn’t written until the following year. Marlowe dies on the same day Essex departs for Ireland. These events actually happened 6 years apart. Another writer shown to be alive after his death is Thomas Nashe, who appears in a scene set after 1601. He is known to have died by that year, though the exact date is uncertain.

It’s just one of those scenes that underscore the film’s satirical nature. The writer makes so many glaring historical errors merely to mock the Oxfordians who probably can’t see they are being teased.

A high point in the film’s action comes when Essex (apparently another of Elizabeth’s bastards) returns from Ireland to try to save his reputation, then tries to lead an armed rebellion in 1601, with only a handful of men. Anonymous doesn’t bother to tell you Essex was placed under house arrest for a full year after returning from Ireland, and his anger was sparked not by some injustice of Robert Cecil, but by the queen not renewing his licence to collect taxes on sweet wine, which hurt his income. Even then, it took months of brooding for him to spur himself to act.

What the film also doesn’t tell you is that Essex took several members of the Privy Council captive and held them as hostages. He then took 300 armed men into London. The citizens did not rally to support his cause, and there was no army shooting unarmed civilians as shown in the film. When Essex found the gates into the city locked, he fled ignominiously, abandoning his followers, and headed home to burn any incriminating documents. He was captured at his house.

Essex also went to trial – he wasn’t beheaded right away, as the film suggests.

In the film, de Vere saves his bastard son with Elizabeth, Henry Wriothesley, the Earl of Southampton, who had been captured among Essex’s men and sentenced to death. Actually it was Robert Cecil who had his sentence commuted to life imprisonment. He was released three years later, by James I, who restored him to honour and a court position.

In Anonymous, Shakespeare’s stage troop are hired by de Vere’s men to perform the play, Richard III, which is used to stir the audience into mob action in support of Essex (the detested Richard III appears as a hunchback in Shakespeare’s play – without any historical proof – and Robert Cecil was also a hunchback). It was actually Southampton who hired the players at the Globe Theatre to revive Richard II, not Richard III.

Elizabeth’s funeral procession is shown walking along the frozen Thames. Not so: it took place on land because the Thames did not freeze that winter.

Elizabeth, both young and old, and the older de Vere are all powerfully played. The two Cecils, are also well portrayed, although the younger Robert in particular comes across as more Machiavellian than history shows him to be.

Shakespeare, Johnson, Marlowe and the other playwrights are less convincing as artists than as con men. As one might expect, only de Vere gets any recognition for talent; the others are all hacks at best, frauds at worst.

The nobles who are trying to save England from the imposition of a foreign ruler (James VI of Scotland) are all blonde; those looking to put James on the throne (the Cecils) are dark-haired.

de Vere is shown watching a performance of Macbeth on stage – but the play was likely never staged in his lifetime (some scholars argue for a first performance date of 1605).

All in all, Anonymous is a historical and dramatic failure, but it’s a wonderful period-piece farce, flitting somewhere between swashbuckling and slapstick. It’s absurd, wildly fanciful and at times downright silly, but the masterful English cast, the stunningly well-created sets and the action-style pacing keep you glued to the TV. Watch it for the sheer fun of seeing the Oxfordians and their wacky theories lampooned so thoroughly.

Like this:

Bella’s wisdom

The modern conservative is engaged in one of man’s oldest exercises in moral philosophy, that is the search for a superior moral justification for selfishness. It is an exercise which always involves a certain number of internal contradictions and even a few absurdities. The conspicuously wealthy turn up urging the character-building value of privation for the poor.
John Kenneth Galbraith,
“Stop the Madness,” Interview with Rupert Cornwell, Toronto Globe and Mail (6 Jul 2002)

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